Messages

1081

Stage Management: Plays & Musicals / Re: Help! Beastly show and actor!!!

« on: Jul 18, 2008, 08:48 pm »

And, tying it back to the original situation, this actor clearly was frustrated and needed to vent. And part of our job is to read the subtext (it's why they call us the 5th actor, since we have to essentially breath with the person onstage to call the cue at the right moment). Yes, getting yelled at sucks. Yes, we do our best to fix as fast as we can and get as far ahead as we can and yes (despite everyone else's assumption) are only human. BUT - and this could be generational, or, as another thread discusses, related to age, because as I get older I have learned to let so many things roll off my back, I agree with Matthew. Part of my job is to take it so the actor doesn't send that energy to other actors, the director, the producer etc - or, as I have seen happen when people continue to engage, show up onstage during a performance.

I have worked with many directors who have....let's call it anger management and/or control issues. As long as I don't rise to temptation, the vent ends and we move on with rehearsal/tech/whatever. Mind you, I cd give as good as I get, but why would I want to when all it means is a hushed room full of people afraid to move or talk or do, and everything grinding to a halt. I am fine with knowing that I can just let all that noise happen and then smile, say thank you and go back to the work at hand.

Have I ever lost it? Sure, especially early in my career, when I didn't understand that my being RIGHT had nothing to do with what was going on, nor did it support what we were all trying to accomplish. And I have learned the hard way that letting my emotions kick in will never, ever solve what's going on. And yes, I have a safe outlet; that's where MY stuff goes - off campus, away from rehearsal and the parties involved, where I can vent or whatever to my heart's content and make fun of and berate or just get my frustration off my chest.

It isn't easy, and it takes practice, trust, and deep calm. Cuz the first time you try to stop yourself, you won't. But the benefits in the long run - a director, cast and crew who trust you completely and know you will protect them and the show, are irreplaceable.

1082

Stage Management: Plays & Musicals / Re: Help! Beastly show and actor!!!

« on: Jul 17, 2008, 11:24 pm »

"

I keep walking away because I don’t engage in yelling, screaming conflict, as a rule.  But she keeps following me and screaming. So I say, “Look.  I get that you’re upset, and I’ll be happy to talk to you when you are not screaming at me.  If you’re going to keep screaming, I’m ending the conversation.”

Just to be clear, bbdanigrace, this is what I meant by feeding the fire. I know what  gotracigo was dealing with and feeling and I don't blame anyone one bit for what comes up when someone rages at you. Yes indeed, it is difficult to "stand there and take it" as you say. But that's our job. AND - more important, there is much to be said for just standing there and taking it - not letting it affect you and just allowing the person to vent. If you don't engage, even passively (which is what walking away, and putting conditions on any response, became), if you allow yourself to say nothing and just stand still and listen, she will (eventually) lose steam and stop. Then, when you say thank you and walk away, the conversation is done. You can go break a few plates at home or vent at the bar or just laugh about it with your asm, but the bottom line is, it's over and you come out smelling like a rose. Most of the time, someone like that has been carrying too much for too long and it has to spill, and we are the only perceived safe outlet.

1083

Stage Management: Plays & Musicals / Re: Help! Beastly show and actor!!!

« on: Jul 17, 2008, 01:05 pm »

one more quick thing, since Matt and DeeCap have been so eloquent - if she needs to vent, you need to listen. All that calmness, all that quiet you had? Add in facing her and allowing her to just DUMP. You walking away just fed the fire, since she already felt no one was paying any attention and she clearly needed to feel heard. You can give her that without giving up any of your self.

My first SM mentor gave me a mantra for situations like this. You stand still and listen until they run themselves out. I mean WAIT, quietly, and let them rant. Then you say, "I am so sorry, it's my fault, I won't let it happen again." And say thank you and leave. (Sometimes, when I think it will start the rant again, I leave out the "it's all my fault" part.) They need to vent, you need to not respond (sounds like you are already great at that part) and they need to feel heard - meaning stopping and at least looking like you're listening.

Regardless, good luck - sounds like a tough situation. And, as they say, this too shall pass.

1084

Employment / Re: What comes next

« on: Jul 12, 2008, 03:35 pm »

Sending strength and light on your challenging journey. Give yourself time to rest, to heal and to do things that are fun. And cut yourself some slack. The year my mom died of cancer, everything was surreal and some days, even getting out of bed was hard. I occasionally found rooms of people who knew nothing of my struggles just to have a break from the emotional weight that constantly pressed on my heart and my life.

In Chinese, the word for "crisis" translates as "dangerous opportunity" - this is indeed an opportunity. This reminds me of the 70s, when women were trying to translate what we did in the home into real world, saleable skills. No, the world at large hasn't a clue what stage managers do (hey, a lot of actors and directors don't know either, so why shd civilians?) - BUT start by listing the things you DO know how to do. Computer programs, organizing, schedules, calendars, finding props, building scenery, typing, making cold calls, whatever - list the things you KNOW, then go to their core and discover what they mean in "general category" terms. One SM I know makes her living organizing other people (for a lot of $).

Then brainstorm a list with three categories - censoring nothing. The columns are 1) what do you never ever want to do no matter what; 2) where are you willing to compromise; and 3) what is your ultimate fantasy - what do you want to do most. List everything - and I mean everything - and it shd not be restricted to theater or office work or any other categorization. For example, I hate to type but will compromise if it's theater-related. But I will NOT bookkeep ever again for anyone. Period. No matter how much money is involved.

Another example: I love playing games (Scrabble, Monopoly, Risk etc) and wrote that on my list. One day I was invited to participate in game show run-throughs, where they test the shows or the hosts or the basic structure of the games etc before they go on the air. Yes, I was a professional contestant and got paid to play the same game over and over again as if I was doing it for the first time. Yes, I had a blast and yes, I got paid for it. But the point is not that this job exists, but that I was willing to look at all the things I enjoyed doing and was willing to see what came up regardless of what I thought reality might be. (make sense?)

Good luck, and hey, I help friends think outside the box so if you want to privately email me your results, I will see what I can suggest back. Either way, WAIT until you have given yourself time to breathe before setting out on a new journey, and be open to what comes your way in the meantime. Sleep, heal, spend time with friends, and allow your family to support each other. Everyone needs a moment off.

1085

Employment / Re: Chickening out?

« on: Jul 12, 2008, 03:17 pm »

Sounds like they need a TD/Prodn Manager who is a tech person - but don't discount that you might be the right candidate for that. If you are overwhelmed, take a step back (esp from your own emotions) and pragmatically prioritize what needs to be done. Can you do it all? Do you need (capable trained) help? If they know and trust you, you are just the person to grow this into a company that works.

Do you have specific issues? There are a lot of us here who've been around a while who can certainly weigh in on our experiences, but it sounds like it's just a matter of growing too big too fast. List what you can do, what you delegate. How can you create a department that gives you what you need without you having to do it all and still accomplishing all your goals.

For example: My most recent show was all about putting out fires behind the scenes. So my ASM, who was incredibly capable and knowledgable abt our deck issues, took over those responsiblities sooner and more completely than a traditional show might - keeping me in the loop and making sure I was part of discussions where it was politic or necessary but basically taking it off my plate so I cd deal with other stuff. Yes, I could have done the rail and prop plots, but her doing it allowed me to solve other things. And it didn't mean my PSM skills were in question - it meant we worked as a team to handle the show's issues in the most efficient way to accomplish our goal of actually having a curtain go up every night, in costume and with props and set shifts, and without injury or emotional baggage.

1086

Tools of the Trade / Re: Things that went wrong with your technical equipment?

« on: Jul 09, 2008, 12:41 pm »

sorry, Mac - I think some of us thought this thread was indeed to be now-humerous then-horror stories.

Twice when the light board crashed, I took house and works to full, we ran around and fixed while the play continued, and when things reestablished we rebooted the board and jumped to the appropriate cue - fairly obvious stuff, except when one of the blackouts turned out to be someone fussing with the wrong set of fuses in a two-theater house, and his blackout was an easy fix once we realized the idiot had been flipping fuses trying to find the prob in HIS adjoining theater. (The fuse box was clearly marked for each theatre specifically to avoid such an issue mid-performance.)

Once, I stayed after the show and traced every single wire and found the short that was causing the board to flicker and fry out sporadically. We called a proper theater electrician-type and had that cable replaced.

1087

Tools of the Trade / Re: Things that went wrong with your technical equipment?

« on: Jul 04, 2008, 10:44 am »

I had a sound system glitch several times out during the run of a show - the board op had to reboot at least twice each time (that was fun) - had a light board blow at places for a ballet, and go out several times during a show at three different theaters - and used cell phones for cues in a couple of houses where headsets were either really sucky or had no reception or just plain died.

Nice to know we know how to handle emergencies, tho - calm, logical, and keep the show running!

1088

Employment / Re: Stage Management Salary

« on: Jun 29, 2008, 01:08 pm »

My prob with your poll is the range for those of us who are NOT resident or prodn stage managers. This year alone, I worked two shows in the 300/wk range, one at 600/wk, one at 200/wk and one at 800-1300/wk (hourly contract w a base and guaranteed OT).  And as it happened, I worked the 200/wk at the same timea s the 600/wk, so what is my average? Well....this year was what it was, and next year will be different again.

I would LOVE to work regularly in the bigger houses for more money and better working conditions, but I have fairly constant work in the smaller/midsize spaces (and the larger spaces here want to grow their own) so I mostly take what I am offered. Weekly salary? There is no constant, and taking a salary cut (that tiny contract) in return for health weeks is enough of a draw to choose that work. So sometimes I work as an SM exclusively, and sometimes I have a day job. And yes, as we all do, I always work many more hours than the contract allows and usually don't get OT.

1089

Stage Management: Plays & Musicals / Re: Broadway 2nd ASM role question

« on: Jun 13, 2008, 03:47 am »

Yes you shd have been called, but sounds like the other folks had their hands full and that each thought you had been called - in other words, it doesn't sound as if you were left out deliberately but rather got lost in the shuffle. Sometimes the focus to solve the split track (or any last-minute yikes) distracts folks from even some of the basics. So don't take it personally. Sounds like you had a tricky evening as it is!

1090

Tools of the Trade / Re: What software do you use?

« on: Jun 08, 2008, 03:16 pm »

I would also love to know how you use power point, Matt

1091

The Hardline / Re: Style

« on: Jun 08, 2008, 02:57 pm »

One of my SM mentors always said "live by the book, die by the book" - in other words, we need to know what we can bend and what we can't, based on the company and the needs of the show. Yes, when I am with producers who always bend the rules in their favor I do tend to get stricter with the terms of the contract, but mostly it is understood that SMs do work above and beyond, put in hours and hours beyond the contract and, even when working hourly, more than we bill.

It's a great topic, and the question (assuming we all bend at times) is really about which rules we are willing to bend, and where we draw the line.

For example, I had an understudy in for one show on a 2-show day in a small house. She was an exact fit so wore the original actor's costume, and the wardrobe mistress got stuck someplace between shows so yes, while I draw the line at wardrobe, and because they had a small washer dryer at the theater, I did wash that actor's blouse before the evening show so she wouldn't have to wear the u/s flop sweat. And yes, I have helped push buttons on a light board (and even, for one show, programmed while the LD was on the phone to me - he had moved on, the director needed a slight change, he talked me thru putting in the cue on that board, all was well). But these are "as needed" and certainly not every day or every show.

1092

Tools of the Trade / Re: examples of good calling sheets for shows with fly cues

« on: Jun 04, 2008, 01:53 pm »

THANK YOU for your assistance -

and it turns out that one theater will be on headset for rail cues, so I assume the rail chief will have the complete cue, and I will call the s/b and go for RAIL Q #1 knowing he has the cue sheets and will know what accompanies?

Or, do I need to call the s/n for each line set along w the set shifts, and THEN give the go on the overall rail q? What is standard practice (I have always used cue lights - and they don't/won't rig a system).

Thank you - and RuthNY - for your help and support. I actually feel a lot better (I admit to a moment of freak when I first tried to structure this, wondering what I had gotten myself into!)

We will at least  be able to bring in SOME lines between so the next scene is revealed, rather than everything being crossed into, and for that I am grateful!

1093

Tools of the Trade / examples of good calling sheets for shows with fly cues

« on: May 30, 2008, 01:31 pm »

OK, I admit it, for the hundreds of shows I have confidently run all over my region, I haven't run a show w massive rail cues in abt 10 years. While I assume there are basics that I am not gonna worry abt, I would love to see a couple of examples of call sheets for rail cues with (or without) set/prop shifts rather than reinvent the wheel (my old call sheets are pre-excel/formatting upgrades).

Thank you - I am tracking all the shifts and all the cues with multiple rails this week so I can prep for tech -

1094

The Hardline / Re: AEA Rulebook

« on: May 14, 2008, 02:34 am »

I just went to the AEA website and opened a couple of agreements, turned to "stage managers" and copies it out (yes you can print from the website) - this might have been SPT, I looked at a couple, the language is quite similar (we are trying to standardize language where possible for everyone's sanity) but it wasn't hard to find. I know you're stressed right now - take a deep breath, know this too shall pass, and go peruse the various agreements until you find the one w the language you like best, hit the print key and turn it in to your head honcho.

LORT also says (under duties of the actor - note where I bolded the language)

(1) The Actor agrees to be prompt at all calls including but not limited to rehearsals, costume and photo calls; to appear at the theatre no later than 1/2 hour prior to the performance; to pay strict regard to make-up and dress; to perform his services as reasonably directed, and sustained by the Stage Manager, and to conform to the language of the script to the best of his ability; to properly care for his costumes and props; to respect the physical property of the production and the Theatre and to abide by all reasonable rules and regulations of the Theatre which are not in conflict with the provisions of this Agreement.  Repeated lateness or other infractions of the Equity rules shall subject the Actor to disciplinary proceedings, in accordance with the Constitution and By-Laws of Equity.

Good luck

1095

The Hardline / Re: AEA Rulebook

« on: May 13, 2008, 02:44 am »

Well, the SMs duties include maintaining the director's vision - which usually entails giving notes where appropriate.

It shall be the responsibility of the Stage Manager to maintain the
discipline of the company, maintain the prompt book and act as the
executive instrument of the Director and/or Producer whenever both are
absent in maintaining the artistic intent of the Director and/or Producer.

does that help?